KARLHEINZ STOCKHAUSEN

SPIRAL / WACH / JAPAN / POLE 2-LP BOXSET 

EMI Electrola 

Complete with booklet 

Early 70's masterpiece of experimental electronics for electroniums, electrochords and short wave radios. Original german Press.  

Some info on the release: Opus magnum from german composer Karlheinz Stockhausen. One can find inside this release a serious amount of his works written for various electronic mediums. A collection of radical experimental / works from the pioneer german composer, with pure waves of electronic musics, shortwave radios, KW receivers, ultra-high and low frequencies are combined with electroacoustic experimentations and manipulation plus some less conventional instruments, like elektroniums, elektrochords, japanese woodblocks, schalmai, antique cymbals and weird percussion instruments. Kind of in between of his "Kurzwellen" and "Hymen". This is the original 1st german pressing from the early 70's. Released in the famous german EMI Electrola series of new music. The same series that released also the works of Krzysztof Penderecki, Bernd Alois Zimmermann, Luc Ferrari, Mauricio Kagel, Edgar Varese and others.  

Karlheinz Stockhausen (22 August 1928 – 5 December 2007) was a German composer, widely acknowledged by critics as one of the most important but also controversial composers of the twentieth and early twenty-first centuries. Another critic calls him "one of the great visionaries of 20th-century music" (Hewett 2007). He is known for his ground-breaking work in electronic music, aleatory (controlled chance) in serial composition, and musical spatialization. He was educated at the Hochschule für Musik Köln and the University of Cologne, and later studied with Olivier Messiaen in Paris, and with Werner Meyer-Eppler at the University of Bonn. One of the leading figures of the Darmstadt School, his compositions and theories were and remain widely influential, not only on composers of art music, but also on jazz and popular-music artists. His works, composed over a period of nearly sixty years, eschew traditional forms. In addition to electronic music—both with and without live performers—they range from miniatures for musical boxes through works for solo instruments, songs, chamber music, choral and orchestral music, to a cycle of seven full-length operas. Stockhausen met the Belgian composer Karel Goeyvaerts, who had just completed studies with Olivier Messiaen (analysis) and Darius Milhaud (composition) in Paris, and Stockhausen resolved to do likewise. He arrived in Paris on 8 January 1952 and began attending Messiaen's courses in aesthetics and analysis, as well as Milhaud's composition classes. He continued with Messiaen for a year, but was disappointed with Milhaud and abandoned his lessons after a few weeks. In March 1953, he left Paris to take up a position as assistant to Herbert Eimert at the newly established Electronic Music Studio of Nordwestdeutscher Rundfunk (NWDR) (from 1 January 1955, Westdeutscher Rundfunk, or WDR) in Cologne (Kurtz 1992, 56–57). In 1962, he would succeeded Eimert as director of the studio (Morawska-Büngeler 1988, 19). From 1954 to 1956, he studied phonetics, acoustics, and information theory with Werner Meyer-Eppler at the University of Bonn (Kurtz 1992, 68–72). Together with Eimert, Stockhausen edited the influential journal Die Reihe from 1955 to 1962. Stockhausen's two early Electronic Studies (especially the second) had a powerful influence on the subsequent development of electronic music in the 1950s and 1960s, particularly in the work of the Italian Franco Evangelisti and the Poles Andrzej Dobrowolski and W?odzimierz Koto?ski. French composer Jean-Claude Éloy regards Stockhausen as the most important composer of the second half of the twentieth century, and cites virtually "all his catalog of works" as "a powerful discoveration, and a true revelation". Dutch composer Louis Andriessen acknowledged the influence of Stockhausen's Momente in his pivotal work Contra tempus of 1968. German composer Wolfgang Rihm, who studied with Stockhausen, was influenced by Momente, Hymnen, and Inori. Jazz musicians such as Miles Davis, Cecil Taylor, Charles Mingus, Herbie Hancock, Yusef Lateef, and Anthony Braxton cite Stockhausen as an influence. Stockhausen was influential within pop and rock music as well. Frank Zappa acknowledges Stockhausen in the liner notes of Freak Out!, his 1966 debut with the Mothers of Invention. Rick Wright and Roger Waters of Pink Floyd also acknowledge Stockhausen as an influence. San Francisco psychedelic groups Jefferson Airplane and the Grateful Dead are vaguely said to have done the same, though Stockhausen himself merely says the former band included students of Luciano Berio and both were "well orientated toward new music". Founding members of Cologne-based experimental band Can, Irmin Schmidt and Holger Czukay, state they studied with Stockhausen, and this is confirmed to have been from 1963 to 1966 at the Cologne Courses for New Music. German electronic pioneers Kraftwerk also say they studied with Stockhausen, and Icelandic vocalist Björk has acknowledged Stockhausen's influence. He's also mentioned in the Nurse with wound list of influences.

Condition: Vinyls in mint- & pristine condition, look possibly to have never been played, while box lies in very good condition with substantial wear on the back and sides of the box, while all corners are open and the vertical side is torn in two places. However the front looks better than the rest, making it a presentable copy. Former library copy with stickers and booklet attached with tape at the inside of the box.

Tracklist

D1

Wach - Aus Den 17 Texten Intuitiver Musik Für Kommende Zeiten

Keyboards [Elektrochord] - Péter Eötvös
Keyboards [Elektronium] - Harald Bojé
Percussion - Christoph Caskel

SHIPPING & PAYMENT

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